Seven Questions With Morgan J. Freeman Of "Hurricane"

A surprise hit of the ’97 Sundance Film Festival was a first time film, “Hurricane”, by atwenty seven year old director/screenwriter named Morgan J. Freeman.What is immediately noticeable in Freeman’s work is the sure hand withthe young director steers both the script’s plot and his small band ofyoung actors through the film.

The film is the story of a group of clubhouse kids, lead by Marcus(Brendan Sexton, III), who commit petty thefts while quietly sufferingthrough life’s hardships. A disturbing picture of the impenetrablehardness of the adult world crushing children’s lives, “Hurricane’s” ableleadership was recognized at Sundance by the DGA with it’s Director’sAward. The film also garnered the Festival’s Audience Award as well asthe Cinematography Award for Enrique Chediak’s work.

I interviewed Freeman at the Claimjumper Bar in Park City. Freemanenters wearing jeans, a parka, and a buzz cut. He looks so young, Iwonder if we will be allowed in. He is accompanied by his lead actorBrendan Sexton, III. Sexton is a small, tightly packed bundle of energy,much like a hurricane himself.

indieWIRE: This is a very unique film about kids since it is told in amore referential way…

Morgan Freeman: It’s very structured story. It’s not a slice of lifeabout Manhattan street kids. It’s a drama, and I think a devastatingdrama that effects a group, a club, of good-intentioned, thriving,healthy kids in our society. And this is an attempt to raise thequestion of, “Is it society?” “What can lead these kids astray, or whatcan make their world a dangerous place?”

iW: How do you think Hurricane compares with a film like “Kids?”

Freeman: I think “Kids” was more an expose of somebody’s idea of what acertain group of New York street kids are like. I think that yes, youcan go into any part of any where in the world and find the bad kids andyou can make a movie about that. I don’t think that represents theentire group. Brendan doesn’t sit home doing nine whip-its, slappinghis dick. I stand behind that movie, as a movie that went into thatsub-culture, heightened it and sensationalized it for a dramaticeffect. You know, “lets take this up to the biggest level ever.” Andthat’s a good way to get a movie out there, to really go there.

iW: And how do you go there with a film like “Hurricane?”

Freeman: It’s hard. You try to explain it as what? An inner city lovestory? Is it kids stuck in the asphalt jungle? It’s got guns? They’vegot a clubhouse, they hang out, they steal. It’s like you want it to bean anti-hero character who’s life completely falls apart, and he triesto rebuild it but in a world that won’t let him.

iW: How did you approach writing the script?

Freeman: I’m really a big fan of movie structure, planting seeds, payoff.Creating a tight knit structure that allows you to have rules to go bywhen you film. Or laws you create for yourself by having a structure.

I wrote a lot. The script should be much longer, you need to losescenes. It’s not all going to work out. You want a hundred and twentypages in your script, I think, because you don’t know what’s going towork, you don’t know who’s going to shine, you don’t know what sub-plotis going to come out and be amazing.

iW: What films had an effect on your filmmaking?

Freeman:“What’s Eating Gilbert Grape” had an amazing influence on mystorytelling. You know where you’re going and you’re confident thatjust when one (plot point) is running out there is going to be anotherto pick it up.

Also, obviously, “400 Blows.” “Hurricane” is very referential to it.Even the title is similar. I wanted a (continual) battering, like theimage of a small boy beaten down by 400 blows.

iW: Brendan gives an outstanding performance for someone so young, howdid you pick him for the role?

Freeman: I had seen him In “Welcome To The Dollhouse” and I used him inseveral of my earlier short films. I knew I wanted to use him when Idid my feature.What was important that, we agreed on the character. So I (put)complete trust in what I think Brendan could do and how he saw Marcus.And I embraced what he saw in the character.

I notice throughout the interview, Morgan glancing a paternal watchfuleye over the sixteen year old, Brendan. Even his body language is thatof a parent, which makes me ask:

iW: Were you a paternal director on the set?

Freeman: No, he (nodding towards Brendan) drives me crazy. One day, I’m sonervous were doing this big day at the school with all the kids, I haveall these extras and we have cops with a long dolly and we’re runningout of time and it’s really hot in the car, we don’t have the enginerunning but we have the window down on Brendan’s side of the car andthis punk here (Brendan) is refusing to do the scene because (he says)“in real life if the cop came with the window down, he’d just reach outand open the door.”

As Morgan physically depicts the argument that ensues with fervor,Brendan laughs hysterically. Despite what they say there is obviously agreat deal of affection between them.